Nathaniel has worked extensively in film, theatre and television. His first film role after graduating from NIDA in 1999 was in Tony Ayres’ Walking on Water for which he received the Australian Film Institute (AFI) Award in 2002 for Best Actor in a Supporting Role. In 2004 Nathaniel was again nominated for an AFI Award for his role in Cate Shortland’s Somersault. His other film credits include roles in Neil Armfield’s Candy, as well as The Rage in Lake Placid and The Final Winter. Nathaniel’s roles in theatre include The Effect (MTC), A Streetcar Named Desire (Black Swan Theatre Company), The One Day of the Year and The Secret River (STC) directed by Neil Armfield, for which he received a Helpmann Award nomination for Best Actor for his portrayal of William Thornhill. Included in Nathaniel’s numerous television credits are Anzac Girls, Puberty Blues, Parer’s War, Old School, Bikie Wars, Wild Boys, Underbelly, East West 101, Rain Shadow, All Saints, City Homicide, Killing Time, Satisfaction and Always Greener. He has just signed on for the upcoming feature, The Nightingale, directed by Jennifer Kent.
Pick up a stone, hold it in your hand. Squeeze tight and feel the small pleasure given by its rough exterior. Run your bare feet over heavy woollen carpet. Let your fingers travel up and down across the colours of a hand- stitched tapestry.
Each of these examples holds our brain’s attention because imperfections are more interesting. We are drawn closer to see what makes the bumps or crevices or cracks.
Nat Dean’s listenability and his engaging delivery is just like this. He’s not laminex smooth. We are drawn closer to his voice because there’s a little bit of glistening quartz in the stone, an undiscovered colour in the wool and there’s an exciting rise and fall in the hand-stitched stories he narrates.
Nat Dean’s experience covers TV, stage, film and countless elements of voice work. He has been both main attraction and support player. All this work has had his voice working hard. It’s blacksmith hardened and fired to take on roles and rhythms of any script that comes his way. And they certainly have. Advertisers have come to realise men today don’t want to be ‘too smooth’ but an interesting gravel mixture of rough, honest, sensitive and technically connected. That’s why the digital perfection of cameras , cars and compters use Nat because they still want to sound easy to use and ready to be enjoyed in the hands of the less than totally confident.
If you have the words, Nat will bring today’s modern man to your script. It’s his faults that make it flawless.